Undressing Emmanuelle: A memoir
Undressing Emmanuelle: A memoir
Sylvia Kristel
The candid and heartbreakingly honest memoir of Sylvia Kristel, the cinema icon of the 1970s who played the lead role in the worldwide sensation erotic Emmanuelle films.1974: After a year of wrangling with the censors, the erotic film, Emmanuelle, is a blockbuster sensation on release in France and a box office triumph around the world from Japan to the States. The image that adorned cinemas across the world was of an unknown 20 year old posing naked, innocent and vulnerable on a wicker chair. Overnight Sylvia Kristel was propelled into international superstardom (at the height of her fame she was invited to address the Brazilian parliament) and turned into an icon of sexual liberation.Sylvia Kristel was born of a dysfunctional family and an impossibly strict religious education. But having won the Miss TV Europe competition in 1973 she was driven by her own ambition to be an actress on the world stage and auditioned for the part of the innocent seductress in Emmanuelle. Through the phenomenal success of the three Emmanuelle films she starred in, she became the darling of Hollywood, as she seduced and was seduced by the rich and the beautiful of the golden age of cinema. But she found herself typecast as Emmanuelle and often played roles that capitalized upon that image, most notably starring in an adaptation of ‘Lady Chatterly's Lover’, and a nudity-filled biopic of World War I spy, Mata Hari, in which she played the title role. Almost inevitably she became the victim of her own innocence as it was Emmanuelle people wanted, not Sylvia. The price that she paid for her meteoric rise was an equally rapid descent into an excess of alcohol and drugs as her tempestuous family life threatened to fall apart all together.Naked, candid and heart-breakingly honest, ‘Undressing Emmanuelle’ tells the story of one of Europe's most celebrated cinema icons and the price she paid for her beauty and innocence.
UNDRESSING EMMANUELLE
A memoir
SYLVIA KRISTEL
with
JEAN ARCELIN
For Arthur
Contents
Title Page (#u6dc28449-b629-578f-97ee-e5e9151841b8)Dedication (#u9594402f-6420-59e8-a0b7-c6f6c9f9e334)List of Illustrations (#uce337bc6-edfd-532d-828a-3f7488ceec1e)Chapter One (#u9dd12230-a709-5007-a653-49f4312b3128)Chapter Two (#u2a426905-ed27-5847-98db-bedb74a6eb27)Chapter Three (#uf4845c8c-4b5c-5297-a930-3c4e33a068e3)Chapter Four (#uefdba68d-6981-501b-a117-04cfe3daa0eb)Chapter Five (#ud0d365dc-01b7-56c8-ba47-8a49f4e1e052)Chapter Six (#udc9014d2-78d0-5e98-8d60-c2f74e4ee0f6)Chapter Seven (#u0f9ade3a-30c2-5b22-9852-97582ec032c6)Chapter Eight (#u412d4d9b-4586-50c9-a989-00faca274a7a)Chapter Nine (#ueb12ffe8-d432-5ff8-a076-c0f6edb0ee78)Chapter Ten (#u091d5585-6143-55cb-8d05-11351f4c2ab9)Chapter Eleven (#u816e1f9d-7fcf-544b-9953-6458cf2f3358)Chapter Twelve (#u9b059418-0bac-5f37-8e82-d728999a8a7d)Chapter Thirteen (#ufb0a7631-fabb-5c40-b578-622e0c874c4e)Chapter Fourteen (#ud7f09e10-d01e-5f2e-8cfa-83c514c8e666)Chapter Fifteen (#u7ec0834a-8acb-529c-b22a-2384222c915a)Chapter Sixteen (#ubb163d69-3dd8-5165-9f8b-6f5fee10ff89)Chapter Seventeen (#uc572bd92-5c99-5f51-b883-769d3b025e33)Chapter Eighteen (#ua759d162-4c18-5d24-ae0f-4686a95ef74f)Chapter Nineteen (#uf35cae59-f444-59cc-8512-82e735835130)Chapter Twenty (#u66fd1eed-4005-5a6b-8dac-01d8cc96328f)Chapter Twenty One (#u2664b874-a3ff-53bd-b853-fa2f60379f11)Chapter Twenty Two (#u94b1c19d-c35d-5ad2-be80-cf4cf88ae9d7)Chapter Twenty Three (#udb7389f2-1b5f-57d2-8ffe-bbbdc8cf81f8)Chapter Twenty Four (#ua81cf468-99ea-5665-a12b-48baef44f7a8)Chapter Twenty Five (#u6c914197-a776-53d2-9217-741c950a4cb2)Chapter Twenty Six (#u6025c8a8-e1cc-574d-be56-29acf7372a86)Chapter Twenty Seven (#uc31ff64a-de1b-529f-af02-b2624e36fbbe)Chapter Twenty Eight (#ue4869095-2699-5798-9246-e471d7779630)Chapter Twenty Nine (#u62de3dd9-d8ef-50f9-91f9-3e206594cae6)Chapter Thirty (#uec6859d7-aae9-539a-9835-660d3296b050)Chapter Thirty One (#u5e95c7e9-ef12-5cc9-8363-1d8cd5363ebb)Chapter Thirty Two (#u86899b01-759e-55d1-b243-f7b8bef92249)Chapter Thirty Three (#u20f13027-a6ca-54c6-be87-489900ecc8f5)Chapter Thirty Four (#ue64692fc-39bc-5f9a-9c6d-ff48a63eb37e)Chapter Thirty Five (#u0b8ae791-a61b-5edc-9f41-46a0c25579c9)Chapter Thirty Six (#uafefbc23-5a95-51a0-a73f-ae3f02faf518)Chapter Thirty Seven (#u4744bf5a-dca3-50a0-8319-2c57d457543a)Chapter Thirty Eight (#u6978d12f-1828-5542-9821-71a5d684cf09)Chapter Thirty Nine (#u7522698e-17c6-5e44-9c2b-d43a8fe3c1c8)Chapter Forty (#u602d187a-7bf1-51d2-8d21-4b024e9ae576)Chapter Forty One (#ub08b3c10-b538-5c42-a4b6-265e87a884ff)Chapter Forty Two (#u246dfe19-9884-5264-8677-e55ac1b72d51)Chapter Forty Three (#ub37df6bd-19eb-5b83-a89b-15b599fb5749)Chapter Forty Four (#uc477a0fd-5535-58de-a194-034861d74ce8)Chapter Forty Five (#u3dd38caa-5586-5a01-b7d9-c742236891c8)Chapter Forty Six (#u75e54315-afe9-5cc7-bbff-4f9e6da890bf)Chapter Forty Seven (#ub5b1e082-d856-568a-b1cc-31ec62bf38b0)Chapter Forty Eight (#u393888b8-0bd9-5418-929d-711d736a671c)Chapter Forty Nine (#uba85eda7-756b-56ab-8702-8c9014fd156f)Chapter Fifty (#ufdb627a6-5c4a-516c-90bd-0da91dd2a58a)Chapter Fifty One (#udf90e221-4276-524c-9a59-f667e659d1bd)Chapter Fifty Two (#u06314c4f-a555-5581-a21c-23ab2207ff1b)Chapter Fifty Three (#u306b798c-c996-560c-b329-0ad6e0238939)Chapter Fifty Four (#uadafae05-46ac-5b97-9f27-ed371c8ed130)Chapter Fifty Five (#ue6f5021b-ffe6-5abd-b984-d68821dc0dd1)Chapter Fifty Six (#uebb97a50-ad7e-502a-9e5f-8bf7e336ca7d)Chapter Fifty Seven (#u31d1790d-c4ef-5c01-85bf-ea74f3882b3f)Chapter Fifty Eight (#ua14d6011-cf26-527a-bfee-ffbd005933b3)Chapter Fifty Nine (#uecaf7247-755a-5053-a802-d6e5b8d7cb6a)Chapter Sixty (#u6f7b1cf8-c98a-5c4f-8f0e-8940eecdf42e)Chapter Sixty One (#ua4e0b422-8b27-5cdf-9975-94409b786c1b)Chapter Sixty Two (#u0abafad2-7ac7-5e3c-a79e-67509589dfb3)Chapter Sixty Three (#ue25cb01b-d46c-541c-8aa0-22a9972de218)Chapter Sixty Four (#u3399f255-65e2-581e-bd81-599daf1c735b)Chapter Sixty Five (#u545786a1-e10a-5392-8a92-65c8eedbb11c)Chapter Sixty Six (#u067ede8e-8f03-5ef6-bcbc-6ac318e1dfd8)Chapter Sixty Seven (#uda762b6c-e53f-592b-a9d7-2b62b194f8bb)Chapter Sixty Eight (#u25869c5c-3dc4-5210-a215-53bb9beb70f2)Chapter Sixty Nine (#u2081153b-fdc8-569e-85f6-3e3f489cf0e8)Chapter Seventy (#uf2909d0e-c7b0-5b67-8b4d-0ec99289d172)Chapter Seventy One (#u86c0a250-df4f-5bf6-9be6-44aaa403aaec)Chapter Seventy Two (#uf46f48b9-1ae7-5f9d-9228-ce5c0c0dbdc8)Chapter Seventy Three (#uf1fada85-4f3a-55d2-be62-c036b0e8207e)Chapter Seventy Four (#u5019bdf9-3bd8-5061-98b8-27bfb76e459c)Chapter Seventy Five (#uf69fa793-9c57-555b-a803-d143e7476967)Chapter Seventy Six (#u499fece1-a853-5e8e-b73d-f73ff8376c7e)Chapter Seventy Seven (#u21bdbf8a-2c4b-5925-94b9-53e93104fc03)Chapter Seventy Eight (#ucc45ed17-873e-5463-8645-29125f06dc85)Chapter Seventy Nine (#u0f5cff62-0c2f-5400-8344-60af898265c6)Chapter Eighty (#u7d054928-6e7d-58ba-bcc7-f66bcbe1e21e)Chapter Eighty One (#ua9f200ba-dbf8-5512-bfae-382144594063)Chapter Eighty Two (#u53c91ae9-17e3-53b9-bd44-3ef9eb3cc678)Chapter Eighty Three (#u874187db-228c-52b6-a816-d8b4a2b0e411)Chapter Eighty Four (#ufee3e1c2-719a-58f7-9805-741a342b9ae6)Chapter Eighty Five (#ucc626f4b-3d46-5c96-8167-762de7f19a49)Chapter Eighty Six (#ud0e2bbca-3930-5516-be7f-7700c481229c)Chapter Eighty Seven (#u788461d4-0a4f-5d81-9f1a-be1e3c0a8988)Chapter Eighty Eight (#u016e2eaa-a1a9-5dd4-8e10-7b0f23dc7d6d)Chapter Eighty Nine (#u775c78ab-9e96-5ab1-9937-750c2c2aff6f)Copyright (#ucbbafc1a-48a8-5a30-a56e-02b50f710376)About the Publisher (#u58054285-6255-56f1-b666-4d5367bbd5f8)
1 (#uc2f878fe-b6cf-5fe5-b702-b8b39062d1aa)
Amsterdam, 2005
Bessel Kok is a major businessman. It shows: he has presence, composure, style and a keen eye. He’s a chess fanatic like my father, and a connoisseur of fine flesh and lovely women. His wife is young and ravishing, he has the pot belly of a gourmand, and his dream is to become President of the World Chess Federation.
He is also generous and – as luck would have it – a nostalgic fan and kind patron of little old me! I met him a few years ago at a smart dinner after a private view. He kindly invited me to the Karlovy Vary Film Festival in the Czech Republic, of which he was a sponsor. Bessel has become a thoughtful and protective friend.
This summer he offered to subsidise me.
‘Why?’
‘I will provide you with financial support for a few months, so you can devote yourself to your own project.’
‘What kind of project?’
‘A book.’
‘A book?’
‘The story of an ageing Dutchwoman, a former goddess of love, in fragile health and living in a tiny apartment …’ He laughed, adding: ‘Give it some thought …’
*
The sun was shining brightly on the Amsterdam canals, and life was cutting me some slack. My mind roamed freely in my convalescing body – I had time to live, to think. My pale skin soaked up the sun, turning more golden by the day and slowly showing up a scar on my left arm. Four white spots came gradually into relief, each smaller than the last.
‘Give it some thought …’ Bessel’s words kept running through my mind, refusing to fade.
I couldn’t take my eyes off this scar of mine. So old. Forgotten. Four spots, like a secret code, the code of my childhood, of my life perhaps. A code I had never tested.
But now I had to; it was time.
I phoned Bessel in the middle of that hot summer and announced: ‘I’m going to test the code.’
‘What?’
‘I’ve been frightened that I’d forgotten everything, on purpose or because I had to, but now it’s all coming back, the words are on the tip of my tongue …’
‘I can’t understand what you’re saying.’
‘I accept your support, Bessel! I’m ready to do the book.’
2 (#uc2f878fe-b6cf-5fe5-b702-b8b39062d1aa)
The last train has screeched noisily into Utrecht station, as it does every evening just after nine. Daytime was over hours ago, but night arrives only with this silence. A brutal cold snap started today.
‘Winter is here, that’s for sure!’ declared a customer in the overheated hotel restaurant.
Utrecht station is enormous, the biggest in Holland, a great entangled fork leading to a huge, well-ordered platform. Travellers arrive here from all countries, for a day or a month, for the cattle market, the trade fairs, the hopes and encounters of big city life.
I walk slowly down the main staircase, the floorboards creaking despite the lightness of my tread. I am trying not to make any noise, in case the hotel is full – although the lights in the lobby are off. There’s only that red light seeping in through the bay windows, lending a glow to each piece of furniture, each line, to the Chinese vase standing on the reception counter. This red light blinks on and off, banishing the nighttime dark. In the hotel the dark is never black, it’s purple.
The show is scheduled for ten o’clock. I cross the empty restaurant; the customers must have eaten early on account of the sudden cold. I walk towards the counter. It’s the end of the week and the customers have left, tired.
I’m disappointed. I enjoy doing my little show. Usually the two of us do it together, it’s better that way – we smile and protect each other. We always use the same song, ‘Only You’ by the Platters. I get on my bicycle and pedal around the bar, turning in the wide aisle. I fix each customer with a perfectly neutral smile, neither happy nor sad. I stretch out one leg, then the other. My skirt flips back over the saddle and I turn my head slowly from side to side, trying to make the curls of my short hair flutter. Marianne is behind me on the rack, waving. I meet the amused eyes of the customers without reading them. I check that everyone is happy. The recipe usually takes – they laugh out loud, encouraging me and calling out:
‘Bravo, Sylvia! Do it again, both legs together this time!’
That’s how it usually turns out, but not tonight. I am alone and I won’t be doing a show for anyone. I decide to go back up to my room.
The lounge door opens, letting in a patch of bright light. I jump.
‘Ah, you’re here, Sylvia! You came. Is it only me? Come over here, Peter! Sylvia’s going to do her show, just for us.’
I nod slowly, minimally. I can’t refuse, can’t say no to ‘Uncle’ Hans. I’m already wearing my performance outfit – the short wool skirt and a slightly faded pink T-shirt matched to my tights.
Peter is still wearing his apron. He’s the sous-chef. He has a red, puffy face and large, deep-set, glittering eyes. ‘Uncle’ Hans always wears the same grey suit, unironed and too short, revealing spotless white socks. His face is round. His hair is greasy and plastered back. I can’t tell the length of ‘Uncle’ Hans’s hair. Is it long, under all the Brylcreem? As long as the hair concealed in severe buns which in the rooms at night cascades free and soft right down the backs of the women I sometimes glimpse?
‘Come on then! Start! We’ve no time to lose, sweetheart!’
‘Uncle’ Hans turns on a table lamp so he can see me better. I get on my bike and go round once in their silence, I don’t want any music. I stretch out a leg, not looking at them. I can feel their gaze. Settled on my body like a boil. It bothers me and makes me feel tired but I carry on, neither sad nor happy, I will not stop. I twirl around, I’m an acrobat, an agile cat, a beautiful lady. I pedal around the bar. ‘Uncle’ Hans puts out a hand each time I pass, trying to catch me as if I were a fairground attraction. I skid a little but regain control. One more and I’ll stop, I’ve decided. That will be it for tonight.
‘Uncle’ Hans has stood up. And Peter. They’re suddenly in front of me, blocking my circular route. They wedge my front wheel with their feet, grab my shoulders and put a hand over my mouth. I don’t cry out. I knew it. Peter pulls my hands behind my back, takes a forgotten napkin from a table and ties them together, pulling hard, wanting me to wince but I won’t. I stand motionless, waiting. I want to see ‘Uncle’ Hans’s hair come loose, to feel his sticky hands soaked with fear. Let him sweat his desire over me, exposing himself as no one knows him. I want the boil to burst. I’m waiting.
‘Uncle’ Hans sticks out his thick, blotchy, pinky-brown tongue, waggling it like a hissing snake. He takes hold of my face – smaller than his hands – tilts it, and leans over so that his tongue can reach every part of my skin. He is slobbering, licking me slowly from neck to temple, from bottom to top, then starting again. His tongue is a thick, hot body, with a hard, pushing tip, so close but so foreign, so unknown. I don’t move. I leave my hands knotted in the napkin, leave my face to be smeared with his saliva, let him do it.
‘What’s going on here?’ shrieks Aunt Alice as she comes into the lounge.
‘Nothing, nothing!’ replies ‘Uncle’ Hans. ‘We’re playing with Sylvia!’
Aunt Alice comes closer, slender, quick and unafraid. She slams on light switches as she comes, making the bar as bright as daylight, then raises her voice.
‘Sylvia, go straight back up to your room. You need to take care of your sister, she’s not well. Quick now, it’s late!’
I turn towards her, pulling with all my strength on the napkin still binding my hands. ‘Uncle’ Hans has stood up again and is leaving the room without a word, head bent. Peter follows him. Aunt Alice watches them go, mute, then sees the napkin fall to my feet. She hides her head in her hands with a great groaning sigh and repeats, her voice softer and slower: ‘What’s going on? …’
I am out of there.
I was nine years old. It was in my parents’ hotel, where I grew up – the Commerce Hotel, Station Square, Utrecht. That was the chaos of my young life.
3 (#uc2f878fe-b6cf-5fe5-b702-b8b39062d1aa)
‘Uncle’ Hans is the manager of the hotel, which belongs to my paternal grandmother. The whole family lives or works here – my parents, my aunts Alice and Mary, my younger sister Marianne and the baby, my brother Nicolas.
The hotel boasts no stars but it is rather elegant, with its high ceilings, Persian carpets and art nouveau style.
‘Uncle’ Hans is appreciated for his rigour. He is steadfast, hardworking and clean, his nails perfectly rounded from frequent filing. He’s the right-hand man, he opens and closes the hotel with the clockwork regularity of the station trains. ‘Uncle’ Hans has that inhuman ability to repeat impeccably the same mechanical actions day after day. His face betrays neither fatigue nor pain, just a slight smile. He intrigues me. He must be a robot, resembling a man without quite having the right expression, hiding under his smooth mask and shiny head a lifeless body, activated by strings and held together by steel rods and tightly fastened screws rather than blood and tears.
‘Uncle’ Hans is not an uncle but the head employee of the hotel. He owes his nickname to the trust my parents have placed in him, to his daily presence, and to the calm and protective impression he makes. It was my mother who first called him that. With the name she gave ‘Uncle’ Hans a stake in our family, hoping to encourage that solitary man to attach himself – to us, our good fortune, and our hotel.
‘Uncle’ Hans does not like me. I am the boss’s daughter. His secret rival, an idle girl sprouting up before his very eyes with my lazy blossoming charm, the kid constantly under his feet, a growing obstacle, an unformed body arousing his desire.
I often eat with him and the sous-chef in the kitchen. I am already making my preferences clear, gently but firmly. I don’t like onions, carrots or mustard, those adult items I’m supposed to force down my throat ‘like a big girl’, as he says. He likes to watch me grimace as I chew. The mustard pot is huge, family-size. It goes from table to table acquiring layers of congealed mustard on its rim, some browner than others, scored by marks where the spoon has lain. Leftovers. I don’t want any mustard.
One refusal too many and ‘Uncle’ Hans’s eyes go all red. He grabs my slender neck and squeezes it until my body goes rigid, then shoves my face into the pot.
When I’ve had enough to eat I push my plate towards the middle of the table with infinite slowness, looking elsewhere. I take advantage of any distractions to secretly push the plate as far away from me as possible.
‘Uncle’ Hans catches me at it, and stabs his fork into my arm. Hard. I scream and run to my room. The pain is intense. The blood is seeping through, making four red spots on my arm. I rub them as you scrub a stain, but it doesn’t make any difference.
I hide the wound by crossing my arms: my first pose.
I tell my mother how ‘Uncle’ Hans forces me to finish disgusting plates of food. She replies that I have to do whatever ‘Uncle’ Hans tells me, it’s for my own good.
I hit on a different strategy. I decide to spend any scraps of money I earn from serving or making beds in the chip shop next door. The chips are fat, greasy and delicious; they crunch and melt in my mouth as I savour their soft hearts, alone or with my sister Marianne.
We behave like starving orphans, and the kind owner gives us extra large portions. We are free, happy and sated.
When my skin turns brown in the summer, the four spots from the fork are reborn – one at a time, in a neat little row, from the most distinct to the faintest.
4 (#uc2f878fe-b6cf-5fe5-b702-b8b39062d1aa)
Aunt Alice told my mother all about the scene she’d interrupted in the bar: my hands still bound, the blushing discomfort of ‘Uncle’ Hans, his tousled hair, the way he left, stooped and staggering, looking such a hypocrite. My mother told my father.
‘Uncle’ Hans was dismissed the following day, with no explanation other than my mother’s shattered and contemptuous gaze and the rage written all over my father’s closed face.
My mother didn’t want to know the details, she didn’t ask me a thing. She doesn’t want any trouble. She would rather sweep away evil as she does dirt – straightforward and effective.
My mother will remain shaken for a long time, thinking deeply about the roots of vice and men’s ability to conceal it, to cover evil with a pleasant mask. Can good also contain evil? My mother’s simple, two-tone world was quaking, the black and white blending to create new shades, new shadows.
I watch Hans leaving. I’ve triumphed over the robot. He is deathly pale, demolished, seemingly finished. For a moment, as the door slams behind him and the freezing air floods in, I feel a tinge of regret. Is the sentence too harsh, more than I’m worth?
5 (#uc2f878fe-b6cf-5fe5-b702-b8b39062d1aa)
The two nymphets are rosy-cheeked, and go topless all year round. They don’t wear dresses, just a big sheet over one shoulder. Their hair hangs down in thick coils. They look a little sad, not yet smiling. I try to catch their eyes but never can. I watch them through the window of room 21, in the eaves of the hotel, where my sister and I sleep most of the time.
The nymphs reign like Greek statues on either side of the station forecourt. On the left is the source of the red light that gives the area’s nights their bright, intermittent glow: an enormous Coca-Cola sign. I love the elegant writing with its upstrokes and downstrokes, and the funny name that rings out like a greeting in an exotic language. The light is intense and streams right into the hotel. It also tints the noses and breasts of my nymphs, making them twinkle.
I sometimes stretch my hand dreamily out of the window, watching my arm flush and fade. I am a station nymph, an angel ready to depart, a little girl on a journey. About to fly out of the window like a bird. I watch my flesh become flooded with the soft light, turning my arm, opening my hand then shutting it again. I do a finger-puppet show under the Coca-Cola spotlights and the gaze of my nymphs.
It’s a funny kind of home town, Utrecht: a puritanical, grey, swarming business hub whose visitors are welcomed by two naked women and a huge red neon sign.
The door to my room opens, slowly. My mother pokes her head round it and is astonished to see me at the window in the middle of the night.
‘You’re not sleeping?’
‘No.’
‘And your sister?’
‘Marianne always sleeps well.’
‘The hotel is full. Wake your sister and take her to room 22, I’ve just let this one to a good customer.’
Room 22 is not a room but a cubbyhole, with a skylight in the ceiling and a single bed. When the hotel is full we spend the night there. I pick up Marianne’s hot, limp body, telling her that it’s me and there’s nothing to worry about. I carry her upstairs while my mother tidies the room quick as a flash, and calls downstairs to the customer in her late-night auctioneer’s voice.
The bed in 22 is narrow and cold. The customer in 21 will enjoy slipping into the warmth left by my sister, and fall asleep easily. Not me. I tack up the pictures of Donald Duck that I drag around with me in an effort to recreate a familiar universe.
The skylight is too high to see anything through it except a patch of black sky. I concentrate on this rectangle. What if my mother rented room 22? Where would we go then?
6 (#uc2f878fe-b6cf-5fe5-b702-b8b39062d1aa)
I love my little sister. I’m glad she’s here, life isn’t as cold. My mother finds it amusing to tell how when I was two years old she found me trying to strangle baby Marianne. That story doesn’t make me laugh. I was jealous, it seems. Strangle Marianne? No, I would miss her. I prefer to pull her ear or pinch her chubby cheeks, not really hurting her, just reminding her firmly that I’m the eldest, the strongest, that we are here for each other.
We don’t hug in my family. Physical contact is reduced to a minimum. Touching would be letting the body express its tenderness, and what’s the point of that? Work, bustle and distance act as a substitute for everything.
‘Do you have to touch each other to make babies?’ I ask, curious.
My mother is embarrassed and tells me her cabbage-patch theory. Aunt Mary cracks up. How strange, I think to myself.
Tonight the hotel has lapsed into its night-time silence. I can’t sleep and I am listening out for the slightest sound, the potential movement of the china doorknob. I’m watching for my mother’s exhausted face, for it to come round the door and ask us to leave our room, whatever the time and the depth of my sister’s sleep, to go even higher, even further, into a space so small we can hardly fit, so small there could be no smaller space. We would be invisible, forgotten forever.
This childhood moving of rooms orchestrated by my mother, these nocturnal migrations to make way for strangers for the sake of a few extra florins, leave me with a deep conviction that sometimes eats into me beneath my calm façade: I’m in the way, too much, cheap, cut-price. I wander from room to room.
7 (#uc2f878fe-b6cf-5fe5-b702-b8b39062d1aa)
‘Is Hans here?’ asks the customer.
‘No, he no longer works here.’ Aunt Alice’s voice is terse.
The customer is surprised, his hands trembling on the reception counter.
‘But where has he gone?’ he persists, mournfully.
‘We don’t know, and do not wish to know.’
‘Very well …’
The customer takes his key and starts up the stairs. He hesitates, stops, grabs the banister, and brings a hand to his face. We are watching him.
‘Surely he’s not crying?’ asks Aunt Alice. ‘Do you know him?’
‘No.’
I go off to pace up and down the lounge. Yes, I know him. I recognise that scarlet coat with the black fur collar, that skin blistered with rampant acne. It’s the man that ‘Uncle’ Hans used to kiss in the kitchen. I had walked in silently, thinking I was alone, it was late and I hadn’t eaten. ‘Uncle’ Hans was holding the man by the neck, clasping him, eating the man’s mouth. Their movements were intense, they seemed to be hungry for each other. The man had his back to me. ‘Uncle’ Hans was facing me. He saw me immediately, paused for a moment, then resumed his gobbling of the man’s mouth. They were moaning a little. ‘Uncle’ Hans held my fixed gaze, then shut his eyes, and reopened them straight onto me. He stared as if he wanted to scream something at me, his suppressed rage perhaps, his desire to see my bubble explode, my sheltered, mute, dreamy little girl’s world.
I was witnessing desire and I didn’t like it. I was hearing pleasure and it wasn’t nice. I inched imperceptibly backwards, holding ‘Uncle’ Hans’s gaze.
My soles skated along the lino as I noiselessly left that invisible circle created around two bodies that wanted each other. I had walked into intimacy and I walked straight back out again.
I often ask myself about this world that comes to life so noisily behind closed doors. What are they doing? Personally, I always prefer a bit of light, a door ajar, so I can glimpse other people’s lives, like old people at windows. Doors close on intimacy, desire, secrets.
I pay attention to everything. I have noticed that there’s an energy stronger than anything else, which brings people together at nightfall, when work and the noise of the city cease. It magnetises them. In the bar I watch bodies touch each other under tables, see women offer up their necks. It’s an adult energy about which I am curious.
Why are my mother and father exempt from this energy? Why don’t they come together? My mother doesn’t offer her neck up like the other women. No, my parents don’t embrace, not even behind their bedroom door. I know. My brother sleeps in their room. I walk in there without knocking, quietly, apparently innocent and lost, determined to find out the truth. My parents are rarely in there together. Callas the dog growls and guards my father closely.
My parents are always heading in opposite directions. When my mother goes to bed, my father gets up. When my father undresses, my mother is waking up. There is no circle around them, no intimacy.
8 (#uc2f878fe-b6cf-5fe5-b702-b8b39062d1aa)
Aunt Alice is as upright and well behaved as Aunt Mary is unpredictable, unique and crazy.
Aunt Alice is my mother’s sister. She arrives early each morning by train from Hilversum (about fifteen miles away) to work at the hotel. She lives with her mother, my pious, Protestant, austere, taciturn, good grandmother.
Sometimes, I leave the bustle of the hotel to seek refuge with her. I took the train by myself for the first time aged four. With the wind in the right direction I could hear the train departure announcements quite clearly. I thought they were calling me so I left without a word, a little doll, small, resolute and self-propelled.
‘Stand back from the platform edge, the Hilversum train is about to depart!’
This time I am on board, a little girl who intrigues the other passengers.
My grandmother has principles. In contrast to the murky busyness of the hotel, she gives clarity and rules to my childhood: something to lean on.
No noise on Sundays at Granny’s house, no bicycle. The table is a place of quiet, not a station chip shop. You must meditate and pray so as not to burn in the flames of hell. You thank God at every meal as if He were providing the food Himself. It’s strange. I sense that my questions would not be welcome in this slightly strained silence, so I keep quiet, I obey, that’s why I’m here.
There’s a three-sided mirror in front of my chair. I always make sure I can see it, training my curiosity on myself. I peer at my reflection, discovering myself a little more each time. An often solitary child, I am interested in myself. I look at my profile, the top of my head, the usually invisible parts of myself. I also watch myself grow. And the bigger I grow, the more I watch myself. I like looking at myself. When my grandmother isn’t there I go right up to the mirror, so close I could kiss it. My breath creates a light mist that I wipe away with an arm so I can find myself again. I move each of my features in turn, making all kinds of false faces that I hold for a few moments. Pretending is easy.
I’m intrigued by the colour of my eyes, by the family resemblance. I don’t know the name of this colour. Grey, pale green …?
My grandmother doesn’t like my narcissistic ways, my poses. This lengthy contemplation of my face, its discovery from every angle, distracts me from my prayer and is really too much. So one day Granny stands up, tacks some newspaper over the mirror and looks at me with kindly authority, not saying a word. Deprived of the sight of myself, for a few days of the holidays I surrender to my grandmother’s good, serene orderliness.
9 (#uc2f878fe-b6cf-5fe5-b702-b8b39062d1aa)
Aunt Mary is manic-depressive, like her father.
‘She’s not very well in the head,’ my mother whispers.
Before she came to the hotel we used to visit this bizarre aunt in hospital. She seemed normal, all smiley and sweet. Aunt Mary enjoyed our visits and always made sure to put on a good show, to prove her sanity and that she shouldn’t be locked up. Depending on her state she was either drowned in lithium or subject to electroshock therapy to achieve an artificial stability. I was little, and struck by the size of the nurses.
‘They’re animals!’ she would say, quietly so they wouldn’t hear. In a bid for survival she set her bed on fire and was asked to leave. My father went to get her. He signed a document, paid for the burnt bed and brought Aunt Mary back to the hotel.
She was shouting ‘Tell me I’m not crazy, tell me!’ as she left the hospital, furious at having been pharmaceutically gagged, reduced to a state of continual and hazy smiling. She jabbed a vengeful finger at the huge, impassive white figures.
‘No, you’re not crazy,’ my father replied, squeezing her hand. ‘Come on, let’s go!’
‘Manic-depressive’ is an odd, complex word, with an intellectual sound to it. It is always said clearly but quietly, accompanied by sorrowful discomfort on my mother’s face. It must be a failing that needs to be hidden, a rare defect that has affected our family, of which my aunt is the vivid proof.
Aunt Mary spends half her life in the air and the rest on the floor. She lives mostly at night, when the contrasts show less. She sometimes laughs and sings for days at a time, buying extravagant presents on credit and exclaiming at how wonderful life is, and how short. Aunt Mary gives her love in huge bouquets, or else goes to ground, at her slowest moments, like the victim of a broken dream or departed lover. Then one day she comes back to life, believing in it again, more fervently than ever. Giving us her sense of humour, her regained appetite and her temporary zest for life.
When I grow up I’m going to be manic-depressive. It’s so much fun, so entertaining.
I adore my aunts. So opposite to each other, but always there for little love-starved me. They are the warm, lively figures of my daily life, weaving a palpable web of love around me every day.
Aunt Mary runs the hotel bar, that pivotal space she often doesn’t close until morning, that hub of routine, ritual debauchery. She doesn’t sleep much, or drink at all. Aunt Mary is always sober as she witnesses the spectacle of the daily drinking sessions. The customers feel relaxed around this kindly, changeable woman – to the extent that some of them think her as drunk as them.
My mother is a regular, discreet, efficient customer at the bar. She drinks constantly, serving herself wine or sherry. She can hold her alcohol – I take after her. She never seems drunk. When she is, she hides away or tells me to go to my room. That’s all my mother seems able to say whenever she is vulnerable, moved or surprised.
My mother is incapable of expressing emotion. She sup-presses it as a weakness, a threat. Life is hard and dangerous, you have to be on guard. My mother fears feelings, as a never-ending wave sure to sweep her away. She prefers control, and uses drink to make this inhuman state bearable.
My father frequents the bar for the same reasons as my mother, but he also hosts the space. He plays the piano and the synthesiser, a sort of modern music box that reproduces the sounds of other instruments as well as bespoke rhythms. It is magical, mysterious, cheerful. My father occasionally and impatiently teaches me a little.
The customers like the hotel bar, where everyone drinks until they are laughing uncontrollably at nothing; deep, throaty laughs that resonate through the whole building. Some fall over, and weep, then get up again and sing, badly. They shout unknown names – faraway lands they will visit, women they will love.
10 (#uc2f878fe-b6cf-5fe5-b702-b8b39062d1aa)
Alcohol has been part of my life since the day when, before I was weaned, my mother got me to sleep by putting a cognac-soaked cloth wrapped around a lump of sugar to my lips.
Alcohol made my father loud and cheerful. He played, sang, acted the fool; he was my clown.
Alcohol broke through my mother’s Protestant restraint, brought her out of her silence, freed up unknown, vicious words, the words of a different person. Emotions burst forth, and then my mother would disappear.
Alcohol gave life. It was the song, the blood, the bond of the hotel. My father would drink up to forty beers a day. I practised my maths by counting them. To arrive at different totals I would then add each whole glass of cognac and each Underberg to the beers.
When he was sober, my father didn’t speak.
I preferred alcohol to silence.
11 (#uc2f878fe-b6cf-5fe5-b702-b8b39062d1aa)
Kristel is my real name, from the word ‘crystal’. It suited my father’s fragile luminosity.
There’s not always a reason for fragility, it can just be a part of someone’s nature. My father was fragile but he hid it, drowning and destroying himself in alcohol and noise. My father adored clay-pigeon shooting and hunting, and his carpentry machines – the screaming metal beasts that lived in his refuge, the attic. He would listen to the intolerable mechanical roar of these carving tools without ear protection.
When out hunting he would fire his gun often, right next to his ears, shooting rebelliously in the air out of a taste for loud noises. By middle age he was almost deaf, which suited him. The voices of the women, the cries and screaming of the children, these signs of life slowly disappeared, growing fainter like an echo, vanishing into his silence and leaving him in his chosen solitude.
My father had not been a child. He was sent to boarding school at four years old. I imagine him as a brave little chap, clever, forced to act grown up, to make his bed without creases, not to cry at an age when that’s all you can do. He grew up alone, with no protection, never carefree. He discovered desire before love, and alcohol first of all.
My father drank, hunted, loved the sea, sport, flesh and chess. In Dutch chess is called schaken, which also refers to the abduction of a sweet young girl by a nasty man.
Perhaps my father thought he was nasty, but he wasn’t. Just broken and mostly absent.
In his attic he makes chess figurines. There are hundreds of them, arranged according to size and by category: queens, castles, pawns, bishops. The best ones in front, the flawed hidden behind. There’s no end to this manic creativity, or to my father’s obsession with this game, this strategic battle, this checkmate.
Sometimes when I’m bored I go up there to see him, daring to enter. He stops his machine and sits motionless, looking at me. I smile at him, feeling like his prettiest figurine. He points out his new creations then quickly starts work again, and I clear off to escape the racket.
My father was Catholic, the son of a hotel-owner and a musician. My grandfather ran an orchestra, and once brought back with him from a trip to Switzerland a strange, unique instrument that made the sound of a fairy tale: a xylophone. It drew people from all around.
My mother came from a humble peasant background, she was a Calvinist and very beautiful. She was brought up strictly by her widowed mother, to an extremely harsh religious code. Fear of divine punishment replaced a father’s discipline.
I remember my mother when she was young; she was fluid as a bohemian dancer, charming and stylish as a movie star. My parents met at a ball. They danced together for a long time, floating, dazzled. My father loved women, and beauty; he loved my mother from that first dance.
Mum loved dancing, it was her element. Her other loves were dressmaking, work and my father. She wasn’t very religious. Marriage gave her an escape from religious excess and the fear of God. She preferred profane to divine love, and converted to Catholicism out of faith in my father. My mother didn’t go to Mass, but made us keep that weekly ritual in her place.
I loved this Sunday outing. At the end of the ceremony I would smile angelically and sidle up to the collection plates to pinch the money I sometimes found there. I would shake the collection boxes and force open their ridiculous little lids, then take my sister to the movies to watch Laurel and Hardy. Much more fun.
12 (#uc2f878fe-b6cf-5fe5-b702-b8b39062d1aa)
Once she was a wife and mother – just a few years after that first ball – my mother stopped dancing. She worked. My mother no longer did the thing she loved. She became obsessed by the beneficial effects of hard toil, austere as a matter of duty, irritable, often sad as she witnessed my father’s slow flight.
She concentrated on her daily tasks, on the hotel and her children. She concerned herself with our homework, our health, our cleanliness and the perfect ironing of our clothes, which she often made – with some skill – herself. My mother was unable to express her affection other than through faultless material care. We were scattered around so as not to disturb hotel business. I was often in my bedroom, Marianne with our neighbours – kind, cigar-selling shopkeepers – and my brother wherever he pleased. He was the family’s little man; he called the shots.
People say they miss the deceased. I missed my father and my mother when they were still fully alive. They travelled through my childhood in the same way they moved around the hotel: my mother industrious, hurried, hidden; my father drunk, flamboyant, alone.
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Sylvia Kristel
The candid and heartbreakingly honest memoir of Sylvia Kristel, the cinema icon of the 1970s who played the lead role in the worldwide sensation erotic Emmanuelle films.1974: After a year of wrangling with the censors, the erotic film, Emmanuelle, is a blockbuster sensation on release in France and a box office triumph around the world from Japan to the States. The image that adorned cinemas across the world was of an unknown 20 year old posing naked, innocent and vulnerable on a wicker chair. Overnight Sylvia Kristel was propelled into international superstardom (at the height of her fame she was invited to address the Brazilian parliament) and turned into an icon of sexual liberation.Sylvia Kristel was born of a dysfunctional family and an impossibly strict religious education. But having won the Miss TV Europe competition in 1973 she was driven by her own ambition to be an actress on the world stage and auditioned for the part of the innocent seductress in Emmanuelle. Through the phenomenal success of the three Emmanuelle films she starred in, she became the darling of Hollywood, as she seduced and was seduced by the rich and the beautiful of the golden age of cinema. But she found herself typecast as Emmanuelle and often played roles that capitalized upon that image, most notably starring in an adaptation of ‘Lady Chatterly's Lover’, and a nudity-filled biopic of World War I spy, Mata Hari, in which she played the title role. Almost inevitably she became the victim of her own innocence as it was Emmanuelle people wanted, not Sylvia. The price that she paid for her meteoric rise was an equally rapid descent into an excess of alcohol and drugs as her tempestuous family life threatened to fall apart all together.Naked, candid and heart-breakingly honest, ‘Undressing Emmanuelle’ tells the story of one of Europe's most celebrated cinema icons and the price she paid for her beauty and innocence.
UNDRESSING EMMANUELLE
A memoir
SYLVIA KRISTEL
with
JEAN ARCELIN
For Arthur
Contents
Title Page (#u6dc28449-b629-578f-97ee-e5e9151841b8)Dedication (#u9594402f-6420-59e8-a0b7-c6f6c9f9e334)List of Illustrations (#uce337bc6-edfd-532d-828a-3f7488ceec1e)Chapter One (#u9dd12230-a709-5007-a653-49f4312b3128)Chapter Two (#u2a426905-ed27-5847-98db-bedb74a6eb27)Chapter Three (#uf4845c8c-4b5c-5297-a930-3c4e33a068e3)Chapter Four (#uefdba68d-6981-501b-a117-04cfe3daa0eb)Chapter Five (#ud0d365dc-01b7-56c8-ba47-8a49f4e1e052)Chapter Six (#udc9014d2-78d0-5e98-8d60-c2f74e4ee0f6)Chapter Seven (#u0f9ade3a-30c2-5b22-9852-97582ec032c6)Chapter Eight (#u412d4d9b-4586-50c9-a989-00faca274a7a)Chapter Nine (#ueb12ffe8-d432-5ff8-a076-c0f6edb0ee78)Chapter Ten (#u091d5585-6143-55cb-8d05-11351f4c2ab9)Chapter Eleven (#u816e1f9d-7fcf-544b-9953-6458cf2f3358)Chapter Twelve (#u9b059418-0bac-5f37-8e82-d728999a8a7d)Chapter Thirteen (#ufb0a7631-fabb-5c40-b578-622e0c874c4e)Chapter Fourteen (#ud7f09e10-d01e-5f2e-8cfa-83c514c8e666)Chapter Fifteen (#u7ec0834a-8acb-529c-b22a-2384222c915a)Chapter Sixteen (#ubb163d69-3dd8-5165-9f8b-6f5fee10ff89)Chapter Seventeen (#uc572bd92-5c99-5f51-b883-769d3b025e33)Chapter Eighteen (#ua759d162-4c18-5d24-ae0f-4686a95ef74f)Chapter Nineteen (#uf35cae59-f444-59cc-8512-82e735835130)Chapter Twenty (#u66fd1eed-4005-5a6b-8dac-01d8cc96328f)Chapter Twenty One (#u2664b874-a3ff-53bd-b853-fa2f60379f11)Chapter Twenty Two (#u94b1c19d-c35d-5ad2-be80-cf4cf88ae9d7)Chapter Twenty Three (#udb7389f2-1b5f-57d2-8ffe-bbbdc8cf81f8)Chapter Twenty Four (#ua81cf468-99ea-5665-a12b-48baef44f7a8)Chapter Twenty Five (#u6c914197-a776-53d2-9217-741c950a4cb2)Chapter Twenty Six (#u6025c8a8-e1cc-574d-be56-29acf7372a86)Chapter Twenty Seven (#uc31ff64a-de1b-529f-af02-b2624e36fbbe)Chapter Twenty Eight (#ue4869095-2699-5798-9246-e471d7779630)Chapter Twenty Nine (#u62de3dd9-d8ef-50f9-91f9-3e206594cae6)Chapter Thirty (#uec6859d7-aae9-539a-9835-660d3296b050)Chapter Thirty One (#u5e95c7e9-ef12-5cc9-8363-1d8cd5363ebb)Chapter Thirty Two (#u86899b01-759e-55d1-b243-f7b8bef92249)Chapter Thirty Three (#u20f13027-a6ca-54c6-be87-489900ecc8f5)Chapter Thirty Four (#ue64692fc-39bc-5f9a-9c6d-ff48a63eb37e)Chapter Thirty Five (#u0b8ae791-a61b-5edc-9f41-46a0c25579c9)Chapter Thirty Six (#uafefbc23-5a95-51a0-a73f-ae3f02faf518)Chapter Thirty Seven (#u4744bf5a-dca3-50a0-8319-2c57d457543a)Chapter Thirty Eight (#u6978d12f-1828-5542-9821-71a5d684cf09)Chapter Thirty Nine (#u7522698e-17c6-5e44-9c2b-d43a8fe3c1c8)Chapter Forty (#u602d187a-7bf1-51d2-8d21-4b024e9ae576)Chapter Forty One (#ub08b3c10-b538-5c42-a4b6-265e87a884ff)Chapter Forty Two (#u246dfe19-9884-5264-8677-e55ac1b72d51)Chapter Forty Three (#ub37df6bd-19eb-5b83-a89b-15b599fb5749)Chapter Forty Four (#uc477a0fd-5535-58de-a194-034861d74ce8)Chapter Forty Five (#u3dd38caa-5586-5a01-b7d9-c742236891c8)Chapter Forty Six (#u75e54315-afe9-5cc7-bbff-4f9e6da890bf)Chapter Forty Seven (#ub5b1e082-d856-568a-b1cc-31ec62bf38b0)Chapter Forty Eight (#u393888b8-0bd9-5418-929d-711d736a671c)Chapter Forty Nine (#uba85eda7-756b-56ab-8702-8c9014fd156f)Chapter Fifty (#ufdb627a6-5c4a-516c-90bd-0da91dd2a58a)Chapter Fifty One (#udf90e221-4276-524c-9a59-f667e659d1bd)Chapter Fifty Two (#u06314c4f-a555-5581-a21c-23ab2207ff1b)Chapter Fifty Three (#u306b798c-c996-560c-b329-0ad6e0238939)Chapter Fifty Four (#uadafae05-46ac-5b97-9f27-ed371c8ed130)Chapter Fifty Five (#ue6f5021b-ffe6-5abd-b984-d68821dc0dd1)Chapter Fifty Six (#uebb97a50-ad7e-502a-9e5f-8bf7e336ca7d)Chapter Fifty Seven (#u31d1790d-c4ef-5c01-85bf-ea74f3882b3f)Chapter Fifty Eight (#ua14d6011-cf26-527a-bfee-ffbd005933b3)Chapter Fifty Nine (#uecaf7247-755a-5053-a802-d6e5b8d7cb6a)Chapter Sixty (#u6f7b1cf8-c98a-5c4f-8f0e-8940eecdf42e)Chapter Sixty One (#ua4e0b422-8b27-5cdf-9975-94409b786c1b)Chapter Sixty Two (#u0abafad2-7ac7-5e3c-a79e-67509589dfb3)Chapter Sixty Three (#ue25cb01b-d46c-541c-8aa0-22a9972de218)Chapter Sixty Four (#u3399f255-65e2-581e-bd81-599daf1c735b)Chapter Sixty Five (#u545786a1-e10a-5392-8a92-65c8eedbb11c)Chapter Sixty Six (#u067ede8e-8f03-5ef6-bcbc-6ac318e1dfd8)Chapter Sixty Seven (#uda762b6c-e53f-592b-a9d7-2b62b194f8bb)Chapter Sixty Eight (#u25869c5c-3dc4-5210-a215-53bb9beb70f2)Chapter Sixty Nine (#u2081153b-fdc8-569e-85f6-3e3f489cf0e8)Chapter Seventy (#uf2909d0e-c7b0-5b67-8b4d-0ec99289d172)Chapter Seventy One (#u86c0a250-df4f-5bf6-9be6-44aaa403aaec)Chapter Seventy Two (#uf46f48b9-1ae7-5f9d-9228-ce5c0c0dbdc8)Chapter Seventy Three (#uf1fada85-4f3a-55d2-be62-c036b0e8207e)Chapter Seventy Four (#u5019bdf9-3bd8-5061-98b8-27bfb76e459c)Chapter Seventy Five (#uf69fa793-9c57-555b-a803-d143e7476967)Chapter Seventy Six (#u499fece1-a853-5e8e-b73d-f73ff8376c7e)Chapter Seventy Seven (#u21bdbf8a-2c4b-5925-94b9-53e93104fc03)Chapter Seventy Eight (#ucc45ed17-873e-5463-8645-29125f06dc85)Chapter Seventy Nine (#u0f5cff62-0c2f-5400-8344-60af898265c6)Chapter Eighty (#u7d054928-6e7d-58ba-bcc7-f66bcbe1e21e)Chapter Eighty One (#ua9f200ba-dbf8-5512-bfae-382144594063)Chapter Eighty Two (#u53c91ae9-17e3-53b9-bd44-3ef9eb3cc678)Chapter Eighty Three (#u874187db-228c-52b6-a816-d8b4a2b0e411)Chapter Eighty Four (#ufee3e1c2-719a-58f7-9805-741a342b9ae6)Chapter Eighty Five (#ucc626f4b-3d46-5c96-8167-762de7f19a49)Chapter Eighty Six (#ud0e2bbca-3930-5516-be7f-7700c481229c)Chapter Eighty Seven (#u788461d4-0a4f-5d81-9f1a-be1e3c0a8988)Chapter Eighty Eight (#u016e2eaa-a1a9-5dd4-8e10-7b0f23dc7d6d)Chapter Eighty Nine (#u775c78ab-9e96-5ab1-9937-750c2c2aff6f)Copyright (#ucbbafc1a-48a8-5a30-a56e-02b50f710376)About the Publisher (#u58054285-6255-56f1-b666-4d5367bbd5f8)
1 (#uc2f878fe-b6cf-5fe5-b702-b8b39062d1aa)
Amsterdam, 2005
Bessel Kok is a major businessman. It shows: he has presence, composure, style and a keen eye. He’s a chess fanatic like my father, and a connoisseur of fine flesh and lovely women. His wife is young and ravishing, he has the pot belly of a gourmand, and his dream is to become President of the World Chess Federation.
He is also generous and – as luck would have it – a nostalgic fan and kind patron of little old me! I met him a few years ago at a smart dinner after a private view. He kindly invited me to the Karlovy Vary Film Festival in the Czech Republic, of which he was a sponsor. Bessel has become a thoughtful and protective friend.
This summer he offered to subsidise me.
‘Why?’
‘I will provide you with financial support for a few months, so you can devote yourself to your own project.’
‘What kind of project?’
‘A book.’
‘A book?’
‘The story of an ageing Dutchwoman, a former goddess of love, in fragile health and living in a tiny apartment …’ He laughed, adding: ‘Give it some thought …’
*
The sun was shining brightly on the Amsterdam canals, and life was cutting me some slack. My mind roamed freely in my convalescing body – I had time to live, to think. My pale skin soaked up the sun, turning more golden by the day and slowly showing up a scar on my left arm. Four white spots came gradually into relief, each smaller than the last.
‘Give it some thought …’ Bessel’s words kept running through my mind, refusing to fade.
I couldn’t take my eyes off this scar of mine. So old. Forgotten. Four spots, like a secret code, the code of my childhood, of my life perhaps. A code I had never tested.
But now I had to; it was time.
I phoned Bessel in the middle of that hot summer and announced: ‘I’m going to test the code.’
‘What?’
‘I’ve been frightened that I’d forgotten everything, on purpose or because I had to, but now it’s all coming back, the words are on the tip of my tongue …’
‘I can’t understand what you’re saying.’
‘I accept your support, Bessel! I’m ready to do the book.’
2 (#uc2f878fe-b6cf-5fe5-b702-b8b39062d1aa)
The last train has screeched noisily into Utrecht station, as it does every evening just after nine. Daytime was over hours ago, but night arrives only with this silence. A brutal cold snap started today.
‘Winter is here, that’s for sure!’ declared a customer in the overheated hotel restaurant.
Utrecht station is enormous, the biggest in Holland, a great entangled fork leading to a huge, well-ordered platform. Travellers arrive here from all countries, for a day or a month, for the cattle market, the trade fairs, the hopes and encounters of big city life.
I walk slowly down the main staircase, the floorboards creaking despite the lightness of my tread. I am trying not to make any noise, in case the hotel is full – although the lights in the lobby are off. There’s only that red light seeping in through the bay windows, lending a glow to each piece of furniture, each line, to the Chinese vase standing on the reception counter. This red light blinks on and off, banishing the nighttime dark. In the hotel the dark is never black, it’s purple.
The show is scheduled for ten o’clock. I cross the empty restaurant; the customers must have eaten early on account of the sudden cold. I walk towards the counter. It’s the end of the week and the customers have left, tired.
I’m disappointed. I enjoy doing my little show. Usually the two of us do it together, it’s better that way – we smile and protect each other. We always use the same song, ‘Only You’ by the Platters. I get on my bicycle and pedal around the bar, turning in the wide aisle. I fix each customer with a perfectly neutral smile, neither happy nor sad. I stretch out one leg, then the other. My skirt flips back over the saddle and I turn my head slowly from side to side, trying to make the curls of my short hair flutter. Marianne is behind me on the rack, waving. I meet the amused eyes of the customers without reading them. I check that everyone is happy. The recipe usually takes – they laugh out loud, encouraging me and calling out:
‘Bravo, Sylvia! Do it again, both legs together this time!’
That’s how it usually turns out, but not tonight. I am alone and I won’t be doing a show for anyone. I decide to go back up to my room.
The lounge door opens, letting in a patch of bright light. I jump.
‘Ah, you’re here, Sylvia! You came. Is it only me? Come over here, Peter! Sylvia’s going to do her show, just for us.’
I nod slowly, minimally. I can’t refuse, can’t say no to ‘Uncle’ Hans. I’m already wearing my performance outfit – the short wool skirt and a slightly faded pink T-shirt matched to my tights.
Peter is still wearing his apron. He’s the sous-chef. He has a red, puffy face and large, deep-set, glittering eyes. ‘Uncle’ Hans always wears the same grey suit, unironed and too short, revealing spotless white socks. His face is round. His hair is greasy and plastered back. I can’t tell the length of ‘Uncle’ Hans’s hair. Is it long, under all the Brylcreem? As long as the hair concealed in severe buns which in the rooms at night cascades free and soft right down the backs of the women I sometimes glimpse?
‘Come on then! Start! We’ve no time to lose, sweetheart!’
‘Uncle’ Hans turns on a table lamp so he can see me better. I get on my bike and go round once in their silence, I don’t want any music. I stretch out a leg, not looking at them. I can feel their gaze. Settled on my body like a boil. It bothers me and makes me feel tired but I carry on, neither sad nor happy, I will not stop. I twirl around, I’m an acrobat, an agile cat, a beautiful lady. I pedal around the bar. ‘Uncle’ Hans puts out a hand each time I pass, trying to catch me as if I were a fairground attraction. I skid a little but regain control. One more and I’ll stop, I’ve decided. That will be it for tonight.
‘Uncle’ Hans has stood up. And Peter. They’re suddenly in front of me, blocking my circular route. They wedge my front wheel with their feet, grab my shoulders and put a hand over my mouth. I don’t cry out. I knew it. Peter pulls my hands behind my back, takes a forgotten napkin from a table and ties them together, pulling hard, wanting me to wince but I won’t. I stand motionless, waiting. I want to see ‘Uncle’ Hans’s hair come loose, to feel his sticky hands soaked with fear. Let him sweat his desire over me, exposing himself as no one knows him. I want the boil to burst. I’m waiting.
‘Uncle’ Hans sticks out his thick, blotchy, pinky-brown tongue, waggling it like a hissing snake. He takes hold of my face – smaller than his hands – tilts it, and leans over so that his tongue can reach every part of my skin. He is slobbering, licking me slowly from neck to temple, from bottom to top, then starting again. His tongue is a thick, hot body, with a hard, pushing tip, so close but so foreign, so unknown. I don’t move. I leave my hands knotted in the napkin, leave my face to be smeared with his saliva, let him do it.
‘What’s going on here?’ shrieks Aunt Alice as she comes into the lounge.
‘Nothing, nothing!’ replies ‘Uncle’ Hans. ‘We’re playing with Sylvia!’
Aunt Alice comes closer, slender, quick and unafraid. She slams on light switches as she comes, making the bar as bright as daylight, then raises her voice.
‘Sylvia, go straight back up to your room. You need to take care of your sister, she’s not well. Quick now, it’s late!’
I turn towards her, pulling with all my strength on the napkin still binding my hands. ‘Uncle’ Hans has stood up again and is leaving the room without a word, head bent. Peter follows him. Aunt Alice watches them go, mute, then sees the napkin fall to my feet. She hides her head in her hands with a great groaning sigh and repeats, her voice softer and slower: ‘What’s going on? …’
I am out of there.
I was nine years old. It was in my parents’ hotel, where I grew up – the Commerce Hotel, Station Square, Utrecht. That was the chaos of my young life.
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‘Uncle’ Hans is the manager of the hotel, which belongs to my paternal grandmother. The whole family lives or works here – my parents, my aunts Alice and Mary, my younger sister Marianne and the baby, my brother Nicolas.
The hotel boasts no stars but it is rather elegant, with its high ceilings, Persian carpets and art nouveau style.
‘Uncle’ Hans is appreciated for his rigour. He is steadfast, hardworking and clean, his nails perfectly rounded from frequent filing. He’s the right-hand man, he opens and closes the hotel with the clockwork regularity of the station trains. ‘Uncle’ Hans has that inhuman ability to repeat impeccably the same mechanical actions day after day. His face betrays neither fatigue nor pain, just a slight smile. He intrigues me. He must be a robot, resembling a man without quite having the right expression, hiding under his smooth mask and shiny head a lifeless body, activated by strings and held together by steel rods and tightly fastened screws rather than blood and tears.
‘Uncle’ Hans is not an uncle but the head employee of the hotel. He owes his nickname to the trust my parents have placed in him, to his daily presence, and to the calm and protective impression he makes. It was my mother who first called him that. With the name she gave ‘Uncle’ Hans a stake in our family, hoping to encourage that solitary man to attach himself – to us, our good fortune, and our hotel.
‘Uncle’ Hans does not like me. I am the boss’s daughter. His secret rival, an idle girl sprouting up before his very eyes with my lazy blossoming charm, the kid constantly under his feet, a growing obstacle, an unformed body arousing his desire.
I often eat with him and the sous-chef in the kitchen. I am already making my preferences clear, gently but firmly. I don’t like onions, carrots or mustard, those adult items I’m supposed to force down my throat ‘like a big girl’, as he says. He likes to watch me grimace as I chew. The mustard pot is huge, family-size. It goes from table to table acquiring layers of congealed mustard on its rim, some browner than others, scored by marks where the spoon has lain. Leftovers. I don’t want any mustard.
One refusal too many and ‘Uncle’ Hans’s eyes go all red. He grabs my slender neck and squeezes it until my body goes rigid, then shoves my face into the pot.
When I’ve had enough to eat I push my plate towards the middle of the table with infinite slowness, looking elsewhere. I take advantage of any distractions to secretly push the plate as far away from me as possible.
‘Uncle’ Hans catches me at it, and stabs his fork into my arm. Hard. I scream and run to my room. The pain is intense. The blood is seeping through, making four red spots on my arm. I rub them as you scrub a stain, but it doesn’t make any difference.
I hide the wound by crossing my arms: my first pose.
I tell my mother how ‘Uncle’ Hans forces me to finish disgusting plates of food. She replies that I have to do whatever ‘Uncle’ Hans tells me, it’s for my own good.
I hit on a different strategy. I decide to spend any scraps of money I earn from serving or making beds in the chip shop next door. The chips are fat, greasy and delicious; they crunch and melt in my mouth as I savour their soft hearts, alone or with my sister Marianne.
We behave like starving orphans, and the kind owner gives us extra large portions. We are free, happy and sated.
When my skin turns brown in the summer, the four spots from the fork are reborn – one at a time, in a neat little row, from the most distinct to the faintest.
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Aunt Alice told my mother all about the scene she’d interrupted in the bar: my hands still bound, the blushing discomfort of ‘Uncle’ Hans, his tousled hair, the way he left, stooped and staggering, looking such a hypocrite. My mother told my father.
‘Uncle’ Hans was dismissed the following day, with no explanation other than my mother’s shattered and contemptuous gaze and the rage written all over my father’s closed face.
My mother didn’t want to know the details, she didn’t ask me a thing. She doesn’t want any trouble. She would rather sweep away evil as she does dirt – straightforward and effective.
My mother will remain shaken for a long time, thinking deeply about the roots of vice and men’s ability to conceal it, to cover evil with a pleasant mask. Can good also contain evil? My mother’s simple, two-tone world was quaking, the black and white blending to create new shades, new shadows.
I watch Hans leaving. I’ve triumphed over the robot. He is deathly pale, demolished, seemingly finished. For a moment, as the door slams behind him and the freezing air floods in, I feel a tinge of regret. Is the sentence too harsh, more than I’m worth?
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The two nymphets are rosy-cheeked, and go topless all year round. They don’t wear dresses, just a big sheet over one shoulder. Their hair hangs down in thick coils. They look a little sad, not yet smiling. I try to catch their eyes but never can. I watch them through the window of room 21, in the eaves of the hotel, where my sister and I sleep most of the time.
The nymphs reign like Greek statues on either side of the station forecourt. On the left is the source of the red light that gives the area’s nights their bright, intermittent glow: an enormous Coca-Cola sign. I love the elegant writing with its upstrokes and downstrokes, and the funny name that rings out like a greeting in an exotic language. The light is intense and streams right into the hotel. It also tints the noses and breasts of my nymphs, making them twinkle.
I sometimes stretch my hand dreamily out of the window, watching my arm flush and fade. I am a station nymph, an angel ready to depart, a little girl on a journey. About to fly out of the window like a bird. I watch my flesh become flooded with the soft light, turning my arm, opening my hand then shutting it again. I do a finger-puppet show under the Coca-Cola spotlights and the gaze of my nymphs.
It’s a funny kind of home town, Utrecht: a puritanical, grey, swarming business hub whose visitors are welcomed by two naked women and a huge red neon sign.
The door to my room opens, slowly. My mother pokes her head round it and is astonished to see me at the window in the middle of the night.
‘You’re not sleeping?’
‘No.’
‘And your sister?’
‘Marianne always sleeps well.’
‘The hotel is full. Wake your sister and take her to room 22, I’ve just let this one to a good customer.’
Room 22 is not a room but a cubbyhole, with a skylight in the ceiling and a single bed. When the hotel is full we spend the night there. I pick up Marianne’s hot, limp body, telling her that it’s me and there’s nothing to worry about. I carry her upstairs while my mother tidies the room quick as a flash, and calls downstairs to the customer in her late-night auctioneer’s voice.
The bed in 22 is narrow and cold. The customer in 21 will enjoy slipping into the warmth left by my sister, and fall asleep easily. Not me. I tack up the pictures of Donald Duck that I drag around with me in an effort to recreate a familiar universe.
The skylight is too high to see anything through it except a patch of black sky. I concentrate on this rectangle. What if my mother rented room 22? Where would we go then?
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I love my little sister. I’m glad she’s here, life isn’t as cold. My mother finds it amusing to tell how when I was two years old she found me trying to strangle baby Marianne. That story doesn’t make me laugh. I was jealous, it seems. Strangle Marianne? No, I would miss her. I prefer to pull her ear or pinch her chubby cheeks, not really hurting her, just reminding her firmly that I’m the eldest, the strongest, that we are here for each other.
We don’t hug in my family. Physical contact is reduced to a minimum. Touching would be letting the body express its tenderness, and what’s the point of that? Work, bustle and distance act as a substitute for everything.
‘Do you have to touch each other to make babies?’ I ask, curious.
My mother is embarrassed and tells me her cabbage-patch theory. Aunt Mary cracks up. How strange, I think to myself.
Tonight the hotel has lapsed into its night-time silence. I can’t sleep and I am listening out for the slightest sound, the potential movement of the china doorknob. I’m watching for my mother’s exhausted face, for it to come round the door and ask us to leave our room, whatever the time and the depth of my sister’s sleep, to go even higher, even further, into a space so small we can hardly fit, so small there could be no smaller space. We would be invisible, forgotten forever.
This childhood moving of rooms orchestrated by my mother, these nocturnal migrations to make way for strangers for the sake of a few extra florins, leave me with a deep conviction that sometimes eats into me beneath my calm façade: I’m in the way, too much, cheap, cut-price. I wander from room to room.
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‘Is Hans here?’ asks the customer.
‘No, he no longer works here.’ Aunt Alice’s voice is terse.
The customer is surprised, his hands trembling on the reception counter.
‘But where has he gone?’ he persists, mournfully.
‘We don’t know, and do not wish to know.’
‘Very well …’
The customer takes his key and starts up the stairs. He hesitates, stops, grabs the banister, and brings a hand to his face. We are watching him.
‘Surely he’s not crying?’ asks Aunt Alice. ‘Do you know him?’
‘No.’
I go off to pace up and down the lounge. Yes, I know him. I recognise that scarlet coat with the black fur collar, that skin blistered with rampant acne. It’s the man that ‘Uncle’ Hans used to kiss in the kitchen. I had walked in silently, thinking I was alone, it was late and I hadn’t eaten. ‘Uncle’ Hans was holding the man by the neck, clasping him, eating the man’s mouth. Their movements were intense, they seemed to be hungry for each other. The man had his back to me. ‘Uncle’ Hans was facing me. He saw me immediately, paused for a moment, then resumed his gobbling of the man’s mouth. They were moaning a little. ‘Uncle’ Hans held my fixed gaze, then shut his eyes, and reopened them straight onto me. He stared as if he wanted to scream something at me, his suppressed rage perhaps, his desire to see my bubble explode, my sheltered, mute, dreamy little girl’s world.
I was witnessing desire and I didn’t like it. I was hearing pleasure and it wasn’t nice. I inched imperceptibly backwards, holding ‘Uncle’ Hans’s gaze.
My soles skated along the lino as I noiselessly left that invisible circle created around two bodies that wanted each other. I had walked into intimacy and I walked straight back out again.
I often ask myself about this world that comes to life so noisily behind closed doors. What are they doing? Personally, I always prefer a bit of light, a door ajar, so I can glimpse other people’s lives, like old people at windows. Doors close on intimacy, desire, secrets.
I pay attention to everything. I have noticed that there’s an energy stronger than anything else, which brings people together at nightfall, when work and the noise of the city cease. It magnetises them. In the bar I watch bodies touch each other under tables, see women offer up their necks. It’s an adult energy about which I am curious.
Why are my mother and father exempt from this energy? Why don’t they come together? My mother doesn’t offer her neck up like the other women. No, my parents don’t embrace, not even behind their bedroom door. I know. My brother sleeps in their room. I walk in there without knocking, quietly, apparently innocent and lost, determined to find out the truth. My parents are rarely in there together. Callas the dog growls and guards my father closely.
My parents are always heading in opposite directions. When my mother goes to bed, my father gets up. When my father undresses, my mother is waking up. There is no circle around them, no intimacy.
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Aunt Alice is as upright and well behaved as Aunt Mary is unpredictable, unique and crazy.
Aunt Alice is my mother’s sister. She arrives early each morning by train from Hilversum (about fifteen miles away) to work at the hotel. She lives with her mother, my pious, Protestant, austere, taciturn, good grandmother.
Sometimes, I leave the bustle of the hotel to seek refuge with her. I took the train by myself for the first time aged four. With the wind in the right direction I could hear the train departure announcements quite clearly. I thought they were calling me so I left without a word, a little doll, small, resolute and self-propelled.
‘Stand back from the platform edge, the Hilversum train is about to depart!’
This time I am on board, a little girl who intrigues the other passengers.
My grandmother has principles. In contrast to the murky busyness of the hotel, she gives clarity and rules to my childhood: something to lean on.
No noise on Sundays at Granny’s house, no bicycle. The table is a place of quiet, not a station chip shop. You must meditate and pray so as not to burn in the flames of hell. You thank God at every meal as if He were providing the food Himself. It’s strange. I sense that my questions would not be welcome in this slightly strained silence, so I keep quiet, I obey, that’s why I’m here.
There’s a three-sided mirror in front of my chair. I always make sure I can see it, training my curiosity on myself. I peer at my reflection, discovering myself a little more each time. An often solitary child, I am interested in myself. I look at my profile, the top of my head, the usually invisible parts of myself. I also watch myself grow. And the bigger I grow, the more I watch myself. I like looking at myself. When my grandmother isn’t there I go right up to the mirror, so close I could kiss it. My breath creates a light mist that I wipe away with an arm so I can find myself again. I move each of my features in turn, making all kinds of false faces that I hold for a few moments. Pretending is easy.
I’m intrigued by the colour of my eyes, by the family resemblance. I don’t know the name of this colour. Grey, pale green …?
My grandmother doesn’t like my narcissistic ways, my poses. This lengthy contemplation of my face, its discovery from every angle, distracts me from my prayer and is really too much. So one day Granny stands up, tacks some newspaper over the mirror and looks at me with kindly authority, not saying a word. Deprived of the sight of myself, for a few days of the holidays I surrender to my grandmother’s good, serene orderliness.
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Aunt Mary is manic-depressive, like her father.
‘She’s not very well in the head,’ my mother whispers.
Before she came to the hotel we used to visit this bizarre aunt in hospital. She seemed normal, all smiley and sweet. Aunt Mary enjoyed our visits and always made sure to put on a good show, to prove her sanity and that she shouldn’t be locked up. Depending on her state she was either drowned in lithium or subject to electroshock therapy to achieve an artificial stability. I was little, and struck by the size of the nurses.
‘They’re animals!’ she would say, quietly so they wouldn’t hear. In a bid for survival she set her bed on fire and was asked to leave. My father went to get her. He signed a document, paid for the burnt bed and brought Aunt Mary back to the hotel.
She was shouting ‘Tell me I’m not crazy, tell me!’ as she left the hospital, furious at having been pharmaceutically gagged, reduced to a state of continual and hazy smiling. She jabbed a vengeful finger at the huge, impassive white figures.
‘No, you’re not crazy,’ my father replied, squeezing her hand. ‘Come on, let’s go!’
‘Manic-depressive’ is an odd, complex word, with an intellectual sound to it. It is always said clearly but quietly, accompanied by sorrowful discomfort on my mother’s face. It must be a failing that needs to be hidden, a rare defect that has affected our family, of which my aunt is the vivid proof.
Aunt Mary spends half her life in the air and the rest on the floor. She lives mostly at night, when the contrasts show less. She sometimes laughs and sings for days at a time, buying extravagant presents on credit and exclaiming at how wonderful life is, and how short. Aunt Mary gives her love in huge bouquets, or else goes to ground, at her slowest moments, like the victim of a broken dream or departed lover. Then one day she comes back to life, believing in it again, more fervently than ever. Giving us her sense of humour, her regained appetite and her temporary zest for life.
When I grow up I’m going to be manic-depressive. It’s so much fun, so entertaining.
I adore my aunts. So opposite to each other, but always there for little love-starved me. They are the warm, lively figures of my daily life, weaving a palpable web of love around me every day.
Aunt Mary runs the hotel bar, that pivotal space she often doesn’t close until morning, that hub of routine, ritual debauchery. She doesn’t sleep much, or drink at all. Aunt Mary is always sober as she witnesses the spectacle of the daily drinking sessions. The customers feel relaxed around this kindly, changeable woman – to the extent that some of them think her as drunk as them.
My mother is a regular, discreet, efficient customer at the bar. She drinks constantly, serving herself wine or sherry. She can hold her alcohol – I take after her. She never seems drunk. When she is, she hides away or tells me to go to my room. That’s all my mother seems able to say whenever she is vulnerable, moved or surprised.
My mother is incapable of expressing emotion. She sup-presses it as a weakness, a threat. Life is hard and dangerous, you have to be on guard. My mother fears feelings, as a never-ending wave sure to sweep her away. She prefers control, and uses drink to make this inhuman state bearable.
My father frequents the bar for the same reasons as my mother, but he also hosts the space. He plays the piano and the synthesiser, a sort of modern music box that reproduces the sounds of other instruments as well as bespoke rhythms. It is magical, mysterious, cheerful. My father occasionally and impatiently teaches me a little.
The customers like the hotel bar, where everyone drinks until they are laughing uncontrollably at nothing; deep, throaty laughs that resonate through the whole building. Some fall over, and weep, then get up again and sing, badly. They shout unknown names – faraway lands they will visit, women they will love.
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Alcohol has been part of my life since the day when, before I was weaned, my mother got me to sleep by putting a cognac-soaked cloth wrapped around a lump of sugar to my lips.
Alcohol made my father loud and cheerful. He played, sang, acted the fool; he was my clown.
Alcohol broke through my mother’s Protestant restraint, brought her out of her silence, freed up unknown, vicious words, the words of a different person. Emotions burst forth, and then my mother would disappear.
Alcohol gave life. It was the song, the blood, the bond of the hotel. My father would drink up to forty beers a day. I practised my maths by counting them. To arrive at different totals I would then add each whole glass of cognac and each Underberg to the beers.
When he was sober, my father didn’t speak.
I preferred alcohol to silence.
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Kristel is my real name, from the word ‘crystal’. It suited my father’s fragile luminosity.
There’s not always a reason for fragility, it can just be a part of someone’s nature. My father was fragile but he hid it, drowning and destroying himself in alcohol and noise. My father adored clay-pigeon shooting and hunting, and his carpentry machines – the screaming metal beasts that lived in his refuge, the attic. He would listen to the intolerable mechanical roar of these carving tools without ear protection.
When out hunting he would fire his gun often, right next to his ears, shooting rebelliously in the air out of a taste for loud noises. By middle age he was almost deaf, which suited him. The voices of the women, the cries and screaming of the children, these signs of life slowly disappeared, growing fainter like an echo, vanishing into his silence and leaving him in his chosen solitude.
My father had not been a child. He was sent to boarding school at four years old. I imagine him as a brave little chap, clever, forced to act grown up, to make his bed without creases, not to cry at an age when that’s all you can do. He grew up alone, with no protection, never carefree. He discovered desire before love, and alcohol first of all.
My father drank, hunted, loved the sea, sport, flesh and chess. In Dutch chess is called schaken, which also refers to the abduction of a sweet young girl by a nasty man.
Perhaps my father thought he was nasty, but he wasn’t. Just broken and mostly absent.
In his attic he makes chess figurines. There are hundreds of them, arranged according to size and by category: queens, castles, pawns, bishops. The best ones in front, the flawed hidden behind. There’s no end to this manic creativity, or to my father’s obsession with this game, this strategic battle, this checkmate.
Sometimes when I’m bored I go up there to see him, daring to enter. He stops his machine and sits motionless, looking at me. I smile at him, feeling like his prettiest figurine. He points out his new creations then quickly starts work again, and I clear off to escape the racket.
My father was Catholic, the son of a hotel-owner and a musician. My grandfather ran an orchestra, and once brought back with him from a trip to Switzerland a strange, unique instrument that made the sound of a fairy tale: a xylophone. It drew people from all around.
My mother came from a humble peasant background, she was a Calvinist and very beautiful. She was brought up strictly by her widowed mother, to an extremely harsh religious code. Fear of divine punishment replaced a father’s discipline.
I remember my mother when she was young; she was fluid as a bohemian dancer, charming and stylish as a movie star. My parents met at a ball. They danced together for a long time, floating, dazzled. My father loved women, and beauty; he loved my mother from that first dance.
Mum loved dancing, it was her element. Her other loves were dressmaking, work and my father. She wasn’t very religious. Marriage gave her an escape from religious excess and the fear of God. She preferred profane to divine love, and converted to Catholicism out of faith in my father. My mother didn’t go to Mass, but made us keep that weekly ritual in her place.
I loved this Sunday outing. At the end of the ceremony I would smile angelically and sidle up to the collection plates to pinch the money I sometimes found there. I would shake the collection boxes and force open their ridiculous little lids, then take my sister to the movies to watch Laurel and Hardy. Much more fun.
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Once she was a wife and mother – just a few years after that first ball – my mother stopped dancing. She worked. My mother no longer did the thing she loved. She became obsessed by the beneficial effects of hard toil, austere as a matter of duty, irritable, often sad as she witnessed my father’s slow flight.
She concentrated on her daily tasks, on the hotel and her children. She concerned herself with our homework, our health, our cleanliness and the perfect ironing of our clothes, which she often made – with some skill – herself. My mother was unable to express her affection other than through faultless material care. We were scattered around so as not to disturb hotel business. I was often in my bedroom, Marianne with our neighbours – kind, cigar-selling shopkeepers – and my brother wherever he pleased. He was the family’s little man; he called the shots.
People say they miss the deceased. I missed my father and my mother when they were still fully alive. They travelled through my childhood in the same way they moved around the hotel: my mother industrious, hurried, hidden; my father drunk, flamboyant, alone.
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Sylvia Kristel
Тип: электронная книга
Жанр: Биографии и мемуары
Язык: на английском языке
Издательство: HarperCollins
Дата публикации: 25.04.2024
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О книге: The candid and heartbreakingly honest memoir of Sylvia Kristel, the cinema icon of the 1970s who played the lead role in the worldwide sensation erotic Emmanuelle films.1974: After a year of wrangling with the censors, the erotic film, Emmanuelle, is a blockbuster sensation on release in France and a box office triumph around the world from Japan to the States. The image that adorned cinemas across the world was of an unknown 20 year old posing naked, innocent and vulnerable on a wicker chair. Overnight Sylvia Kristel was propelled into international superstardom (at the height of her fame she was invited to address the Brazilian parliament) and turned into an icon of sexual liberation.Sylvia Kristel was born of a dysfunctional family and an impossibly strict religious education. But having won the Miss TV Europe competition in 1973 she was driven by her own ambition to be an actress on the world stage and auditioned for the part of the innocent seductress in Emmanuelle. Through the phenomenal success of the three Emmanuelle films she starred in, she became the darling of Hollywood, as she seduced and was seduced by the rich and the beautiful of the golden age of cinema. But she found herself typecast as Emmanuelle and often played roles that capitalized upon that image, most notably starring in an adaptation of ‘Lady Chatterly′s Lover’, and a nudity-filled biopic of World War I spy, Mata Hari, in which she played the title role. Almost inevitably she became the victim of her own innocence as it was Emmanuelle people wanted, not Sylvia. The price that she paid for her meteoric rise was an equally rapid descent into an excess of alcohol and drugs as her tempestuous family life threatened to fall apart all together.Naked, candid and heart-breakingly honest, ‘Undressing Emmanuelle’ tells the story of one of Europe′s most celebrated cinema icons and the price she paid for her beauty and innocence.